PABLO "EL ENTERRADOR"

I wouldn't go as far as to say that this is a "masterpiece" from Argentina, which I have heard often, but the majority of the tracks on PABLO "El Enterrador" are of the highest quality. This band's music emphasizes rapid, and colorfully melodic, interaction between two keyboardists and a guitarist. The band's melodic and rhythmic style is very "Latin American" in nature and sets the album apart from the band's European prog influences. Many collectors tend to compare PABLO "El Enterrador" to LOCANDA DELLE FATE. Well, they might have a point due to the dual keyboard interaction, but the music here is very different from Forse Le Lucciole Non Si Amano Piu. I also tend to hear a strong Tony Banks influence in the keyboard melodies. Overall, LOCANDA DELLE FATE and early GENESIS are two good comparisons, but the music here rarely reaches that level of quality. Plus, the band decided to include 2 rather cheesy latin-pop tracks on each side of the LP. The sound-quality of the CD, though, is really what keeps me from enjoying this album. It's discouraging to have to focus to hear the multiple layers of melodies, intricate rhythms, and even some of the added percussion instruments (there are actually congas deep in the mix!). I don't really know what happened to this album when it was reissued on CD. Apparently, the LP sounds killer, but when the sound-engineer transfered the LP to CD the job was definitely sloppy (cheap software, or maybe the SE had a terrible ear for sound at the time). Hopefully, in the future, a label will come in and properly clean the sound up. Expect a classic of South American progressive rock, but put it on hold until someone remasters it properly.

Well sometimes I don't understand what's all the fuss about it!! Don't get me wrong, this album is well arranged and the execution is often good, but I don't find such extraordinary music features inside, above all by comparing this work to those ones by other light symphonic bands (influenced by classic music), such as "Sagrado Coracao da Terra", "Recordando o Vale Das Macas" or once again reminding you of the light music passages by the Italian band "Locanda delle Fate" (do you remember their album "Forse le Lucciole non si amano più"?!), a typical reference for this romantic genre...ok, except on my opinion about the originality of this Argentinian Band,I can find interesting breaks through within, but I can't say that this album is a masterpiece (for instance I think of the first one by Bacamarte, the magic ensemble by Mario Neto, and I think of this latter like a more versatile and interesting album too!!). However I don't like to regard this one as another clone, being rather different from the South American standard concerning the rock in those years and -above all- I don't want to affect your opinion.

At the end to me this album is recommended for our less involved moments!!

Back in the first half of the 80s, there was still some good prog music cooking on. From Argentina, the quartet Pablo "El Enterrador" (a quintet on stage) did quite an excellent job with their namesake album. The solid interplay between both keyboardists (with the Yamaha electric grand piano assuming a proficient role on the front) and Sali's precise drumming (which shows a strong jazz-rock flavour) are the most prominent assets in the band's instrumental proficiency; meanwhile, Blanc delivers his bass parts in perfect consonance with Sali, while his guitar riffs and solos are effectively constructed to complement the multi-keyboard inputs (orchestrations, solos, layers). Blanc is also the lead singer, and his singing is certainly soft enough (at times, even romantic) to remain connected with the evocative nature of almost all compositions. Odd signatures and mood shifts are present in this album's repertoire, but they are not flaunted at all: the foursome, as writers, are more interested in showing their way to create emotional ambiences than showing off their regular progressive "ambitions". Comparisons are usually made with Locanda delle Fate, and I would add the best ofARRWT-era Genesis, as well. These comparissons may be valid to a certain degree: but generally speaking, Pablo's Latin American essence feels definitely obvious, so it would be more accurate to say that they are more related to early 80s Espíritu, Invisible and Spineta-Jade - all of them, Argentinean acts. The opening track 'Carrousell de la Vieja Idiotez' pretty much epitomizes the overall musical spirit that is to be displayed all throughout the album. Tracks 2, 3, 6 & 7 bear basically the same particular touch that the guys of Pablo manage to develop and portray with both elegance and skill - a special mention goes to track 3, 'Quién Gira y Quién Sueña', which is arguably the most emotionally charged track in the repertoire, containing dreamy synth adornments, ethereal piano chord progressions, and an eerie guitar solo during the last section that is fully expanded on to the fade-out. oh, this number should have been a bit longer. All in all, it is in the two instrumentals that Pablo "El Enterrador" exhibits their technical skills more intensively: 'Ilusión en Siete Octavos' and 'La Herencia de Pablo' are real amazing pieces that even bear a certain air of added aggressiveness, but never getting too rough, since the habitual sense of exquisiteness prevails. 'Accionista' is a minor point here: this is simply a straightforward AOR-ish number, something like Survivor-meets-post McDonald Foreigner, that seems to have been conceived as a potential single A-side (it is even 3'13" long, very conveniently). Nothing wrong with that in some other album by some other band, but it is too evidently unfitting in here. Anyway, despite my remark on this small detail, "Pablo "El Enterrador"" is an excellent album created and performed by an ensemble of excellent musicians.

P.S.: The re-edition released by the Argentinean label Viajero Inmóvil (www.viajeroinmovil.com) in 2005 contains four bonus tracks recorded live in a 1985 gig, with a slightly modified line-up: 'Celeste Cielo', 'Bananas', 'Sé Tu Payaso' and 'Los Juegos del Hombre' are pretty much consistent with what we find in the album's official repertoire. A recommended purchase, indeed.

Rather heavily hyped as a South American classic, I wouldn't go quite that far, though it's a quite excellent and beautiful album. Oft-compared to Locanda delle Fate, I do indeed get a similar vibe from this, though I find it highly unlikely that they were actually an influence. Possibly PFM and DEFINITELY some Genesis in there.

Based around dual keyboards, piano and Oberheim synth seem to dominate here, with some Minimoog and organ rounding out the sound as well. For all the Italian prog comparisons, it still sounds distinctively South American, with gentle Latin-style vocals (in Spanish of course) and lovely Andean folkloric touches.

Keeping this from being a classic are a couple of more commercially-minded numbers, notably "Accionista", which sounds like their attempt to do a Van Halen-style arena rocker. Sorry, guys, you can do the airy folk-sympho thing, but you can NOT rock!

That said, the rest of the album is indeed of the highest quality, and quite recommended to collectors of South American progressive rock.

This eponymous album by Pablo 'the gravedigger' from 1979 contains eight pleasant and melodic compositions, loaded with great dual keyboard work (Oberheim - , Moog - and ARP Pro Solist synthesizers, Hammond organ and Yamaha CP 70 electric piano) evoking Tony Banks, Supertramp and the Seventies Italian progrock scene like Banco and PFM (classically inspired sound). The wonderful electric guitar play is in the vein of Hakcett and Latimer, lots of emotion! At some moments Pablo El Enterrador sounds a bit polished (like Phil Collins Genesis) but in general the music on this album sounds like 24-carat symphonic rock that is rooted in the unsurpassed Seventies. For more deails see the other reviews, especially from Cesar Inca Mendoza.

This is a rather famed second tier album from South America. It's gotten some rave reviews, but I can't go that far, the reason being that the band's style is so close to '76-'81 Genesis as to be pretty much a clone. All the elements are there- floating synth solos, staccato rhythms on the keyboards, an electric piano sound and style that copies Banks' on "Duke" exactly, Collinsy/Gabriely vocals. I don't really hear any Latin American musical influences. There's even a tune that sounds suspiciously like "Turn it On Again" at times. Locanda delle Fate is another band that is often mentioned in comparison, but it's not nearly as strong as the "Duke" influence (and besides, I'm not that sold on LDF either). Nonetheless, this is a three star album because, though derivative, the compositions and playing are very solid and my synapses did send me some pleasure signals while listening. Genesis fans who want Genesis in Spanish will enjoy this!

If you like your keyboards in pairs, your guitars keening, and your vocals in heartfelt romantic Spanish, AND you enjoy good songwriting and arranging, you can't do much better than to pick up this Argentine classic. Although it is from 1983, it does not broadcast this through the production or the instrumentation. One point of comparison would be the 1977 album by Locanda Della Fate from the opposite corner of the world, but this one is less overtly bombastic and has some clearer, simpler melodic themes.

It is indeed in the textures of the longer romantic ballads that this group most distinguishes itself, particularly the emotionally and instrumentally profound "Who Turns and Who Dreams"(Quién gira y quién sueña). Even more so, "Inside the Stable" (Dentro del corral) begins life as a fast-paced organ dominated song with intriguing twists, only to transition gracefully to one of the most breathtaking pastoral segments in prog history, capped by a lilting lead guitar solo.

The album has some very appealing and shorter upbeat numbers too, such as "Vanishing Spirit" (Espíritu esfumado), which features a near wall of keyboard sound without seeming too busy or stifling, and the instrumental "Illusion in seven eights" (Ilusión en siete octavos), with a mathematical approach to the keyboard sequences consistent with its title.

The bonus tracks, with the exception of "Bananas", are more dispensable, and the poppy "Paper's Elephants" (Elefantes de papel) doesn't fit with the overall serious mood, nor does it provide a suitable break from that atmosphere, given that it is the second song on the album. These forgivable weaknesses notwithstanding, I am hard pressed to think of a better disc from South America for the symphonic prog fan. Highly recommended.

This is beautiful music that recalls some of the lighter Italian music I love. This band is from Argentina and the vocals are in Spanish.They really bring to mind GENESIS quite often, mainly due to the synth work that sounds like Banks.

"Carrousell De La Vieja Idiotez" opens with a minute of piano before the vocals and drums arrive. The first time I heard this I was so moved. A beautiful guitar solo after 2 minutes. An even better one 4 1/2 minutes in that goes on and on.This is both uplifting and moving music. "Elefantis De Papel" opens with tender vocals that are so romantic. The guitar is tasteful, and a nice synth solo 1 1/2 minutes in. Piano follows it up as vocals continue to impress. GENESIS-like synths after 3 minutes during an instrumental passage. "Quien Gira Y Quien Suena" opens with piano that is joined by fragile vocals. A fuller sound 1 1/2 minutes in as guitar gently soars. Lots of piano to follow in this tasteful and pleasant track. "Illusion En Siete Octavos" is the first of two instrumentals.This is an uptempo song with synths and drums leading the way. Very GENESIS-like again.

"Accionista" is another uptempo tune with the vocals at their most aggressive here. Nice guitar solo before 2 minutes. "Dentro Del Corral" is my second favourite track after the opening song. This one is all about the pulsating Banks-like synths. The vocals are at their best on this one as well. Piano and guitar take over as song calms down 3 minutes in with gentle vocals. The last minute of the song is beautiful with the guitar, piano and drums making magic. "Espiritu Esfumado" features vocals and piano melodies that shine.The song picks up a little. Guitar with piano 2 1/2 minutes in is outstanding. Love the guitar. More Banks-like synths follow. Great tune. "La Herencia De Pablo" is the last song and the other instrumental. More pulsating synths, and the guitar 1 1/2 minutes in and later are a highlight. I really like this music. This is the longest and also one of the better tracks. Third favourite.

A highly recommended record from yours truly.

''Pablo el enterrador'' is one of those hidden gems of progressive rock,that was digged up from the ashes of time and became widely known to the public.What was the year of its release remains a mystery,the more common being 1983,while there are resources that indicate its release somewhere in 1979/1980.The sure thing is that this is a top notch work of symphonic progressive rock.The band consisted of four members,two of them being keyboardists,so obviously their style is quite keyboard-dominated.

Often comared to the Italian masters of the 70's,PABLO EL ENTERRADOR deliver romantic progressive rock dominated by sensational vocals by (guitarist) Jose Maria Blanc and absolutely marvelous musicianship.There is heavy and constant use of electric piano by Omar Lopez,which makes their music sound so delicate and classical,but the strongest point of them is the fantastic instrumental interplays,which are numerous,trully polished yet mind-blowing,filled with melodic guitars,atmospheric synthesizers,classical-sounding electric pianos and some minimoog synthesizer as well.Blanc,who handles also the guitars,chooses a very emotional style of playing,which sometimes is enriched by South-American melodies.Yes,there are a couple of songs with an intense pomp-rock feeling and some cheesy synths,but again you'll be amazed by the magnificence of the instrumental work,the fast tempos and the changing moods!

''Pablo el enterrador'' should be spread even more to a wider audience,for it was an album with stunning musicianship,great vocals and strong melodies in a difficult period for producing intricate music.One of the best progressive rock albums ever and,of course,extremely highly recommended!

Butter me up honey!

This is pure butter and olive oil. I mean if you are one of those crazy geneticists who fancies splicing similar sounding bands together, and indeed thinks that the formerly mentioned fatty ingredients belong together, then you should definitely hunt this little album down. I hear distinct Marillion traces on this one along with the late blooming RPI groups like Locanda delle Fate. This group sports an overpowering love of electric piano that fills the airwaves like small tap-dancing mice doing a musical edition of classically inspired tunes - reeking of early 80s infatuated melody lines and sweet nectar running down the walls. Yes there are traces of that old Genesis keyboard pounder Monsieur Banks, and even if those sweeping runs don´t sound particularly original, they sure feel heartfelt and gorgeous at the same time. Putting these musical mice into a jolly blend of soaring and high-pitched double cream vocals, that reminds me of another Argentinian tenor named Luis Alberto Spinetta - the obvious smorgasbord of several fatty acids all thrown into one big bowl is now well established.

Then why do I love this album so much? I tend to go for the dirty, gritty, out-there, spontaneous, acid-drenched and mad, when it comes down to the progressive lands of music, yet somehow this album just strikes a chord in me - warms me up in times of cold plastics and heartless Christmasy falseness. There´s really no other way of putting it. Although El Enterrador isn´t the most progressive of albums, it sure puts its hand down my trousers, and that has something to do with the way these tunes are put together. The song-writing is magnificent - and to think I´d almost forgotten about that specific trade inside this wild and perplex musical world.... Just like Marillion´s key-trade was the combination of beautiful uncomplicated melodies, charismatic vocals and a penchant for well orchestrated song-writing - this Argentinian band also utilizes some of the same honey smearing facets to win you over - and it quite simply works. Oh yeah, you can butter me up any-time.

The occasional moog and arp synths taking over in the music, gracing you with welcoming colours to the mix, are used to penetrate the somewhat ethereal and docile nature of the individual pieces. The guitar leads here are put to use in the same sort of manner, and to me that helps the music from turning into something that is so completely slippery and suave, that had it been without them - it surely would make me choke in lard exposure - overdosing on dairy products. No thank you very much - sometimes I want my butter slightly rancid.

Apart from the 80s production and the overpowering lushness of this release, I still enjoy it very much, and find some sort of indescribable comfort in putting music on, that works much the same way as a good after sun lotion following a day spent under a scorchingly hot barbecue sky, - or maybe you just need some sonic ointment to help calm you down after your daily dosage of Magma.

A break from insanity and bewilderment - a soothing and beautiful venture in double cream that will have you reaching for the blackest of coffees afterwards. 3.5 stars.

This very good band escaped my attention during my first batch of reviews some years ago. Maybe because the Argentinian scene was not really prolific to generate great prog music? But now, sibce I am currently living in Spain, these Latin bands draw more my attention. What you will get on this great album is all symphony, beauty, tranquility, nice and gentle music. In one word; I just love it.

The first two traks ("Carrousell de La Vieja Idiotez" & "Elefantes de Papel " are just jewels. So delicate, so melodic. Superb keyboards and subtle vocals. What a good start. The mellow "Quién gira y quién sueña" is still a good moment to share. I am less laudatory about the intrumental " "Ilusiòn En Siete Octavos". Little structure and no melody. It could have been avoided due to the lenght of the album.

The next song "Accionista" sounds like a "Genesis" one while they were three (but the very late part of this trio: "Abacab" style). You can imagine that it is not my cup of tea...Press next. ''Dentro del Corral'' is of antother caliber and rejoins with the first two tracks : all beauty yet complex. The guitar play is extremely melodic and brings you to a superb feel (at least it is my experience). One of the highlight of this album.

The delicacy still goes on with the sweet '' Espiritu Esfumado''. The keys are omnipresent and th guitar finale is just gorgious. What a pleasant track ! Maybe on the short hand but so beautiful ! Any symph fan should be in love with this very good music?

The final song (all instrumental) starts as a ''Genesis''part from the early days (and you know how much I love these). And it soon turns into a formidable guitar crescendo from Jose Maria Blanc. Just remarkable. The middle part is just gorgeous while the whole band joins in ! Thye highlight by far.

This band should have had more exposure, but at the time of release, the situation was rather complex in Argentina. Have a try and listen to this goood work . Four stars.

This 1983 release from Argentinian band PABLO has a pop-GENESIS sound and feel to it?due primarily to the Tony Banks-like keyboard sounds and styles used by the two keyboard players. As a matter of fact, this album could very well be treated as a companion to the Brits' 1980 release, Duke. The album's weakness comes in its poor quality of sound.

1. "Carrousell de La Vieja Idiotez" (5:40) solo electric piano opens this one before the rest of the band joins in and José begins to sing. A pleasant song with a feel like something that could have been on GENESIS' And Then There Were Three or Duke. The various soli of guitar and synths are where this band distinguish themselves from their British heroes. (8.5/10)

2. "Elefantes de Papel" (5:06) opens with strumming electric guitar and cymbol play while José sings a plaintive tune. By the time the chorus comes, the rest of the band have joined in at full volume. How like Tony Banks is the sound and play of this Yamaha CP 70 electric piano! The lyrics sound as if they could be powerful but the song never really gets too complex or dramatic in support. (8/10)

3. "Quien Gira y Quien Sueña" (5:45) a sedate, fairly quiet ballad sung in a higher male register with masterful sensitivity and emotion. (9/10)

4. "Ilusion En Siete Octavos" (4:51) an instrumental with a rather straightforward rhtyhmic structure over which some truly wonderful soling occur from the guitars and keys. Nice way to end Side One. (8.5/10)

5. "Accionista" (3:17) opens Side Two with the theatricity and sounds of Duke. Too bad for that murky sound-- especially for the drums. The vocal here is more similar to those of BANCO DEL MUTUO SUCCORSO's frontman, Francesco di Giacomo but I don't like it so well as the previous song's approaches. (8/10)

6. "Dentro del Corral" (6:03) this song has trouble engaging me. From the opening strains the business of the instrumental layers feels too busy, more than is truly necessary. Plus, the murkiness of the sound is really getting to me on this one. The band is trying to be powerful and dynamic, I can tell the instrumental performances are strong, but the sound is . . . really bad! (7.5/10)

7. "Espiritu Esfumado" (3:53) more Duke-like sound and structure, this song would fit right in next to "Duchess" or "Duke's Travels." Nice work, great instrumental performances and cohesiveness. (Too bad about that sound!) (9/10)

8. "La Herencia de Pablo" (7:17) organ, synth, cymbol play, and MiniMoog bass open this one. Great intricacies and weaves of difficult multiple instrumental passages--including bandoneon! Very impressive and upbeat end to very nice album. (9/10)

Great songwriting in the Genesis/Tony Banks tradition with top notch performances from all musicians but THE SOUND is TERRIBLE! I find it quite difficult to separate this fact when rating these songs. Were they clear and crisp it might be a different listening experience.